Accessions

SbBlt

JUL 13 1934

Digitized by the Internet Archive

in

2010 with funding from

Boston Public Library

http://www.archive.org/details/howesinstructorfOOhowe

HOWE'S INSTRUCTOR
FOR THE

CONTAINING

NEW AND COMPLETE

TO WHICH
IS

INSTRUCTIONS.
Axv

ADDED

A SELECTION OF CELEBRATED WALTZES, POLKAS.

TOGETHER WITH
.

k LARGE COLLECTION IF

^ a
CO. WASHINGTON
el

COMPILED BY ELIAS HOWE.

BOSTO
PUBLISHED BY

JN

OLIVER DITSON &

ST.

mil MMrtlm ttitml Oui(na,Ul tkajMl IIU, M OLIYBE DITBOB.li Um Olwk'i OB*.

U.

MUM SNIt 1

Out

DMritt 1

MUSICAL INSTRUCTIONS
Fhe Treble
Whole
Halve*.
Quarters.

01

Clef, thus,

is

used for the

VIOLIN, FLUTE, and CLARIOJNETT,

&c

CHARACTER;) OF THE NOTES AND THE PROPORTION THEY BEAR TO EACH OTHER

F.lghtu.8.

Sixteenths.

000 0000000*00000000
t
r

4 Crotches*

L.
'

8 Q,uavers.

kP

Ttolrty-eeeeuiU.

000000000000000
k*

Imam/mm J

L nw
i

ii

" 4
1

^11 11 11 . 11

11

^- Uyi J

F" '** ^""" ^wmbU

r

16 Semiquavers.

0000000000000
WITH THEIR RESPECTIVE RESTS.

33 DamlseBBlqaai

FIGURE, LENGTH, AND RELATIVE VALUE OF NOTES,

Semiquaver.

Deml9ctu.^uaT<r.

EXAMPLE OF RESTS.
A Bar
Rest,

2 Bars.

3 Bars.

Bars.

5 Bars.

6 Bars.

7 Bars.

8 Bars.

9 Bars.

10 Bars.

EE^EEE3
A
dot after a Note, or Rest, makes the Note or Rest half as long again
Written.

=BF

ft
pie.

MUSICAL INSTRUCTIONS
A Tie of but the sound
connected
"* Slur > v placed over
is

style,

two Notes on the same pitch, binds the second to the first, so rht only the first is sounded, continued the length of both Notes on different lines or spaces, shows that they must be played in a smooth continuing each Note its full length.
is

This

style

of playing

termed in

Italian,

Legato, written thus,

The opposite style of playing termed Staccato, denotes distinctness and shortness of sound, written thus, Written. m.
I I
.

9
l

Cor written_
I

17

means

less

thus:

Played.

W
'

=F=
P
1
'

EEJ
P
'
*

Staccato,

W
~\

P1

WT_

means

still

less

and thus:

Staccato.

^^

*W
.

TIME AND ITS DIVISIONS.

The Bar, made Time
is

thus,

~p~
;

divides a musical Composition into

;

Equal

Portions of Time.
:

divided into two Sorts

COMMON and TRIPLE

it, is

Character or Sign, which denotes

each of which is either simple or compound placed at the Beginning of every Composition, after the Clel.

and the

SIMPLE
When marked
by Crotchets
thus,
in quick

COMMON

TIME.
its

-e-

Bar contains one Semibreve, or movements, and by Quavers in slow movements.

denotes, that each

Equivalent.

And

is

timed

Kxample,

=F
the

When marked

thus,

Bar contains two Crotchets or

their Equivalent.

Example.

Counting

in

music should be

like the

pendulum of a

3S

clock, even and exact, as the notes

H^S

I
it.

must be timed by

MUSICAL INSTRUCTIONS.
COMPOUND COMMON TIME EXPLAINED.
FIRST SORT.
Court 12 Quavers
in a

SEI
Count 6 Quaveia

OND SORT.

Bar, or 4 dotted Crotchets, or their equivalent.

in a Bar, or 2 dotted Crotchet*, or their equivolsfl^

m
THIRD SORT.
Count 12 Crotchets
in a

FOURTH SORT.
Connt 6 Crotchets
r
in a Bar, or 2 dotted

Bar, or 6 Minims, or their equivalent

Minims, or their eqcnalem,

~JGL

is

r?-

? --i

ISC? :=?:

The two

last sorts

are very seldom used in

modern music.

SIMPLE TRIPLE TIME EXPLAINED.

Three Minims
in

a Bar, or their equivalent.

Three Crotchets

in a

Bar, or their equivalent.

Three Quavers

in a Bar, or their equivalent

Compound Triple Time is seldom used in Modern Music. The Figures, which mark the time, have a reference to the Semibreve and the upper Number, how many of such Parts the Semibreve is divided
; ;

For Example, f denotes that the Semibreve is are taken for each Bar. Likewise indicates that the Semibreve is divided into eight Parts, namely, eight Quavers ; and that three of adopted to complete a Bar.

the lower Number, showing into how Parts are taken to fill up a Bar. divided into four Parts, namely, four Crotchets ; and that two of

many
them

them are

The Figure of 3

placed over three

Crotchets, Quavers or Semiquavers, thus,-p

z~l^ W-T

^~% ^

^g-p-^1
~

^G^--p^3^
,

called Triplets,

Denotes that

~>u-( the

three Crotchets must be

;

and performed within the time of two common Crotchets the three Quavers witfiin the time of two common Quavers the three Semiquavers within the time of two common Semiquavers. The Figure 8 denotes that six Notes must be performed within the time of four of the same kind.
;

EXERCISES
ACCIDENTS
Each Sound may
be altered by adding any of the following Signs Sharp # placed before a Note, raises it a Semitone or Halftone Flat b placed before a Note, lowers it a Semitone or Halftone: and if the Note is a B, to which the Flat is prefixed, it is then called Double or Chromatic Sharp X raises the Note two Semitones. Double Flat bb lowers the Note two Semitones. Natural ^ takes away the effect of a Sharp, or Flat, whether single or double: and a k# or Igfo reinstates the single Sharp or Flat.

A A
A

B flM.

A A

When When

a Sharp

is

placed Q~jf
ffis
it

close by the Clef, thus,

affects

every

throughout the piece, except where the Sharp

is

contradicted by the Natural.

a Flat

is

placed
f\~k

close by the Clef, thus,

it

affects

every

throughout the piece, except where contradicted by the Natural

The same

When
in the
1st

same Bar,

rule holds, when more Sharps or Flats are placed on the Clef. a Sharp, Flat, or Natural is prefixed to a Note, in the course of a Piece, it is then called an Accidental Sharp, Flat, or Natural.

it

affects

all

the following Notes of the

same name contained

EXAMPLE. As

Written.

As

Played.

2nd

EXAMPLE. As

Written.

As

Played.

Sd Example.

Which
The
foregoing Rule extends even to the
first

Abbreviations are a Modern Improvement.

is

Note of the subsequent Bar, when the affected Note

the last of one Bar, and the

first

of the

imk

as if written thus,

:rgggggg

And

the

same with Flats and Naturals.

order of Sharps at the Clef, ifc#-^s- dew-ending by a 4th and ascending by a 5th. ^&-ft;j|Hf

The

The order of Flats at the Clef, q h ascending by a 4th and descending by a 5th. fef^fc^i

METHOD OF THE SPANISH

GUITAR.

The Spanish Guitar has but six strings, three silver and three catgut; they are called E, A, D, G, B, F. It must oe remarked, however, that the real tones of the Spanish Guitar are all an octave lower in relation to the established concert pitch than written on the staff, and consequently the following notes, though differently expressed in Guitar and Piano Forte music, ought to sound in unison on the two instruments.
6th String.

5th String.

4th String.

3d

String.

2d

String.

1st String.

E
m\
"ST

D
I
UL
g,

G
I _ \1

B
IN
"

E
e?
.

M UL

.....

5
.

"

*?

tl 1 1

POSITION of
the

i
SPANISH GUITAR,
asad

of

tlie

HANKS.

After being seated on a chair of moderate height, the Guitar should be brought gently near the body, without being pressed too closely to it, the neck raised a little above the shoulders, and supported by the first joints of the thumb and forefinger of the left hand ; the rest of the fingers should be bent to a circular position, and be placed above the strings, which is easily done by bending the wrist. The right hand should be placed over the body of the instrument, the little finger resting on the sound-board, a support The hand will then assume to the hand, not far from the first or E string, and rather nearer the bridge than the sound-hole. a semicircular form over the strings, the thumb and first three fingers being freely bent, and at liberty to be used according
as the nature of the passages

may

require.

The thiee silver strings are generally struck with the thumb. It is customary for ladies to attach a ribbon to each end of the Guitar, and sling it over the left shoulder ; this, to a certain extent, sustains the instrument, and leaves the hands more at liberty for passages requiring execution. To draw forth the finest tone care should be taken to bend every finger after having struck the string, each finger of the left hand should likewise press the strings very close to the fret by which the sound is formed.

The Left Hand.

The numbers
mark
1,

2, 3, 4, will indicate the fingers of the left hand,

and the

frets

on which they should be placed;

this

o will designate the

open

string.

The Right Hand.

The thumb
of the right hand will be designated by a cross x, and the other fingers by the figures 1,2,

METHOD

of

TUNING

the

GUITAR.

This is perhaps one of the greatest, and unfortunately, the most unavoidable difficulty which the pupil has to encounter on the commencement, and will in every case be best taught by a master; but as These lessons may in all probability fall into the hands of some who do not possess the advantages of oral instruction, some directions as to the best method of tuning apObserve, therefore, that the Spanish Guitar is tuned by fourths, except the second string, which pear to be indispensable. should be only an interval of a third above the third string, and that the six open strings, when correctly tuned, should sound
the following notes.

W
6th.
1st.

l=5EEli=jEEi 4th. 3
5th

3d.

2d.

W
B

1st

Tune

the string

by an

tuning fork, or

of the Piano Forte.

which makes D, and tune the string D in unison with the 5th string. the 5th fret of the string D, and tune the string G in unison. the 4th fret of the string G, and tune the string B in unison. the 5th fret of the string B, and tune the string E in unison. 6th. Tune the 6th string E with the 1st or E string to the double octave. The octaves must then i)e compared with each other to prove that the Guitar is in perfect tune. See Example.
2d. 3d.

Put one finger on Put one finger on 4th. Put one finger on 5th. Put the finger on

the 5th fret

11

/
Example.
{

t A
ffTl
I
1

S>
i
1

\ VJJ^ *

a c

"'

o>

tn 1
UNISON.

&
\

r
1

j-=J

UNISON.
i

UNISON.

unison, o

Open r

z. Strings, f ffh V

$2

..

Octaves.

w
6th String.

3
^F

#
2d. 3d.

NATURAL GAMUT,

or SCALE, Ascending: and Descending-.

the change of String.
1st. 1st.

The Bars mark

5th. 4th.

3d.

2d.

4th.

5th.

6th.

E
Open
String.

^m
G
3

1
G A
2 2

P
1

B C
2
3
.

D E F
3

BCD 3
1

,0jf fJO.,3
Descending.

"

C B
1

A
.3,

FED C BA GFE 032 103 Q_

2
_

Gamut.

Ascending.

_,

12

EXERCISES.
To
learn to read the Notes in the First Position.
M o
I

EXERCISE, No.
MODER1TO.

1. 1

Q _2_

1_3

10

\_

10

^=F*2
3 3 2
1
3.

rig:

^^^ptij^p?
J-Q2
.

5^:
3
2 3

3^C
2 3

W^
2_- 3

."ZEZCjL.

j-a-^f!

nrr4-F
1 .0

tHE
3__3

zr-K^"
3

a>?

ll Hi JEJE

"

2.

3=

^=
2.
_0_

eg

_*

rz
3

.3__0_
I

S3 5
1

-?WWW
13
0.

1-

P^
20
2

e =E
3 3
!
,

EXERCISE, No.
MODERATO.

323 S q _ 33E? tsac ffi FCT

-3-Q-

m
3
!
;

_0_l- 3

S
3

3
-

P-fftf-FF f=P= ^FFI^ ^r^ g=gE J-f-~F g

jzn
3 2

m
i
i

03

XgDC

1 ^5

1_

--f--d=sr

5^ ^^^v^^^i

i-M=

P3^

13

EXERCISES on

the

DIFFERENT ARPEGGIOS.
1,

For the Right Hand.

In the following Arpeggio passages the thumb is indicated by a cross, x the 1st finger by the figure The little or 4th finger must always rest on the sound-board. the figure 2, and the 3d by the figure 3, the

2d

finger

by

14

SCALES OF THE DIFFERENT KEYS.

C
Major,
1

0_JL3

or Natural Q

Key.

2-3

CL

tl_

*_-gl_-p- -h- -f f-

i_

- I

g ^-^_3__J_^L_2.
3

fl

lJ

fHf
1- I-

j-

-J- -J-

-0-

FRET.

FRET.

*'

Major,
2.

or

Sharp
2

...1

% 3 %p frit TP-

10 20

-**
4 4

f^S^Fi

-i

f^"

Major,
2

or

Sharps,

i.l'f:
-I-

rli.'

.3

A
ft

Major, '
2

or
4.

3 Sharps.
Q
1

? 24

m^mm
2
2

f,|

1:
E
Major,

-#-

FRET.

^^
^o
1

Zji

m
F

024

or

4 Sharps
2

12

^fl^L^Il-r-T-y-^
)

_^_^~214
4
2

Major,
1

w 3013023 02313
or
1
i.

FRET.

FRET.

FRET.

4 FRET.

Flat. o n

\i

&

j.

313
=
*

32031031
=*

"

rr

3?*

15

Of
the

the SL17R,

APPOGGIATIIRA, and TRIIX.

right hand,

Tw) or more notes played successively, of which only the first is made to vibrate by the mere pressure of the fingers of the left hand, are called Slurred notes. See Example.
The
SMJRRED NOTES, ASCENDING.
2 3 2
first

and the others by

note only to be struck.

SLURRED NOTES, DESCENDING.

-#J :

3_

5
Appoggiaturas,

w
r
-

management

which follows them. They require great They are generally played the same as Slurs, the expression of which they are capable. giving an impulse to the small note with the right hand, and making the principal note sound with the left hand.
or small notes, take half the value from the principal note
to execute

with

all

I
d:

P
r#

.L

ife

? p-

9
i

:i
i-

"WRITTEN.

^^^^^^
i*

?-?anzzzzri i^HzzP~^i~czP^r ir D n ULJLJi. g ~rr-Sg-f-fr p

czgi^^

^g
1

\. \

Trill, thus

The Trill, or Shake, is a useful ornament, but which requires practice to be effected upon See Example. tr, is made by quickly moving the note above to the succeeding one.
-JH"f-

the Guitar.

The common

As Written.

3tfc

As Played.

This Example of the Trill intended for daily practice.

is

very useful for learning to

make

the

Shake with

all

the fingers of the left hand, and is

16

POSITIONS.
;

There are twelve positions on the Finger-Board of the Guitar among those there are five which are called principal most in use, and a knowledge of them is sufficient to get acquainted with the others. These positions There are the same number of positions as there are frets on the finger-board. It is the are the 1st, 4th, 5th, 7th, and 9th. 1st finger that determines the position in which the hand is; thus, when the 1st finger is placed on the 1st fret, the hand is The study of the Gamut and Exercises in the five principal positions in the 1st position, and so on with the other positions. above named will be found sufficient for the purpose, and of paramount importance.
positions, as they are

NATURAL GAMUT,
6th String.
1

or

FIRST POSITION.
3d.

5th.

4th.

fr??^
Exercise
in 1st Position.

s
2

2d.
1

1st.

-J ft9th

FRET.

-4Z=E=r

ZiZlZIK

GAMUT
&
6th String
5th.

in the
4th.

FOURTR

POSITION.
3d.

mm
93^

4
-P-t-0 -9- A

Exercise

in the

4th Position.

2i

_j-

-j-

22

BADEN POLKA.
Tti

i -n

fe
1

i~**~"3i

^
,-g

rP=s

-- 3=3=

t
n-*z#"52

ess, fzqrSii :Szqz:jzn Sea *~ ^^ c =f-f$m-*- zr *-=rf S~ -rr-T^rr^E fy-^

a

-0-

=:

ijizzfH:

-f-

t-

sTrTi E7
*w ~2~*

~! rmr~rvr\ !~TD ii~i~rd 9~ #*~ " g~g## g ~ ^ r *~

1

r^fc

5EJ3S

tf

tf

23

CARLOTTA
at*

GRISI'S POLKA.

-^

m.
"J"

g.4
~
i _j~t 1

MJ
f

r*r

rT 5S

ritfe

t*.

IF" =
:
i

-S

^
==?=
* g
j~\

^.
a
a

T^F
r

up lJ-5:

R=g 3^ 3 Ji=j:
a

J' _^. 1 'J. .^L

n a^j^^fP^J-i^-b 3.
* ^j
i~*r ~a
rr
i

-#.

-J.

-J(-

--U

-4-

^F
-j-

izzzzzizzzzi
.

ej

azcxzui *~i

*n

g~~#

i3=s:

H r=^

24

THE ALPINE MARCH.

t
i=*

=*

-^S-F1^-?

J=Hfe
.a

3"

Se&^ ^ f
^g^jg
5

l^ fazji-g

rfl^^Ei aBa
3"
*fl-

^c

a2 P
S3-

CH ^4^ #^^^^^^^^ e^^ ^ J

COTILLON.
:

rf 3-P5 #^ aT i '4e^
#
-*-

^
-wr

gg 3z=tt

^^E*
*

^4=fi
^t
TF

3=J j**^; ^~TT

-)

SE^^^
#"
Tr

n:
"*r

?:

w'

25

SWISS AIR.

3 3=S II

=fcS=jEH
zzt

m&
/

&&i
?

B:

ra

1~

;l=fe 3*-

_*_^

FRENCH
tf-8

AIR.

[A,
"I

B,
-!

C]
i

in

^d=d

~i

i
Variation.

W3*
r#~i

33
-j
1

seiI

~#

ift
T

r^
3

tQ M~* r* r~r#r#
# #

r2-*T~2 _ *
L-,

M rrt*

j-

izs^n_s cd J_J -, I

.jo

h#nE"i

26

LA CACHUCHA-*~7R

azut

?s^
T^"

5 R=J

xzl:

^iES=:

-f^

r
r
Lj 5=-i

r r

r-

t r-i in

t-zrrzM^ ~j

5zz?^

~r

33E
r-

3=
F
r

L^q^q==fc^3==n^qrra=l=sq=sq=FS=! *3-=l=FEz =3^3E[: j=g==?\=j=} 4.l-J=jbF=i i g^T^*^? *-

::
|

f^-p-

j f
:?=!!?:

Fl

'

q-'-M

4-^
rri

UzJ-Jrzi-r: SS J 2 s^

'

27

=f^SF
~i=f=i- J
/s>.

fir-

r
#zz?_ ^
K
~

ri~i

r
=3=

r
.

zjsizszmzzzztzsczzw.

rs
i

r r
^=j:

r
r r
"
1

E=^E r r
c ^
j

frm
r--.

r
s=iy-i3-s^*=

v
23E

as zazz^sz^izg:

-^

r-

4-4

?E

i^EESEE*

r-

r-

r
i

V
1
1

"d

~g

i~g'~ ~i

i"

=3=3

r*

^m
r

9ZJZ1~ZM

_J

nrs .__nrn
1

I"

Z?

WET SHEET AND

A FLOWING SEA.

M Eg3E?
A

3S
a
flow
-

3C"
ing sea,

>_

:fc*
And
a

fast,

:E3^E
And
^-JSazzi*

wet sheet and

wind

that

follows

&#=-r
t#:*

y*~

#^-i C"
b
fills

r~
1

?-^j

r=f

s
I

^ ~^=^-i 7*
rust
-

*
the

J S

~
1

'

h
i

m d

n^

V-

._

J*.

^
lant

i**

the white and

ling sail,

And bends
J-

u**

gal - lant

mast.

#*#*~~
-i :

s
9
-i

"
1 i

II.
di

And
m

sends the gal

'*

2
:=B=-R-=sa

Ml-

dl

m #*

*>*

MP

i=fc
mast,

3eR=P^=P^
an
eagle

:*z?:

j^P
way
our good ship
flies,

my

boys,

While, like

And

leaves

Co

t#z*

#_

FT

HE*-

"

_r
lum

f
- bia

*
on

*n^r
lee.

*=p
O, give

i
-

ssa

BIS" 5 :
wet

i*

^
And
gal - lant

29

:iPi:
follows

our

me

sheet,

flow

ing sea,

a wind that

v
trf-

fast,

And

fills

the white and

flow

^PP
ing
sail,

ZjZWr
the
mast,

And bends

fefc

S3 55 55 ^eS
r* r~i
g""-r*~i~y~T"*
:

*==3=E^

s
is,

^1

f
3.

2.

a soft and gentle wind, I heard a fair one say; But give to me the roaring breeze, And white waves heaving high And white waves heaving high, my boys,
for
,,

O,

There's tempest in yon horned moon,

The good ship light and free The world of waters is our home, Arid merry men are we.
Give me, &c.

And lightning in yon cloud; And hark the music, mariners, The wind is piping loud The wind is piping loud, my boys! The lightning flashes free
While the hollow oak our palace

Our

heritage the sea!

Give me, &c.

30

MY HEART
5&
ANDANTE.
I

AISD LUTE.

Tgive

=r=
I

more,

:^:

^
poor
the
off

thee
-

all,

can

no

Tho'

'ring

be

My
#~

^:zz^:

t i
-|.
...
i

-**
|-

W&whose gen
- tie

*=:

-rV

f=>
all
1

-fc

^
That
a
1

^
I

to

thee.
-

heart and lute are

:

the store
s-i

can
0-

bring

A
-
i_

lute

_u.

wa

Uk

wa_

=r
'

X^

_~i

L<rfj

S
song
re
-

5
soul

:g-g=^r
:

#2ter
far,

feF^
a
heart that feels

veals

The

of love

full

well

And,

bet

Much

81

2.

Though

To
At
If

and song may fail, keep life's clouds away,

love

alas

least 'twill

make them
if

lighter pass,

Of

gild

them

they stay.

ever care his discord flings

O'er life's enchanted strain, Let love but gently touch the strings. 'Twill all be sweet again I give thee all, &c.
!

GAYLY THE TROUBADOUR.

*$ A

n
#i*;

Gay

^m
ly

=s=d*i:
touched
his

the

Troubadour

gui

.i=t:fcs-_z5=::

U2
t-

(~f.HP- 5

F=3 :

/
t#-*;

I
3
home
from the

w
war;
Sing

wm
From

EJEjEEjBWhen

he

was

hast

5 en

ing, "

^m^.
{

rg~~*

g~*~

:r*=i=z
Pal
-

i
tine

:g=p 3==
Hith
i
i

Ladye
lo"e
!

-^
la -

es

come
i

dye

love

Welcome

P^P
me

5
-

3=^
"*
1

-.-

-r

-H-

h.

*&
home."

5 5
Sim
-ft
ing,

- tine

" From Pal

es

Hith

er

come,

m
Ladve

love

#=*

*^5:

1
i

m7

4
5f=
la -

3 3

I
r =:

5
love
!

-F-=i

1
#

dye

Welcome

me

home."

*&

r
2.

/wilt ^3
Under
Singing, "
!

tin

She, for the Troubadour, Hopelessly wept; Sadly she thought of him
others slept, Singing, " In search of thee

Hark! 'twas the Troubadour

Breathing her name
the battlements
Softly ho came,

When

From

Palestine

Would
Troubadour

I
!

might roam,

Come
h

to thy

Troubadour home."

Hither I come ladye love Lad}'e love

Welcome me home "

!

Singing, &c.

Singing, &c.

TWERE VAIN TO TELL THEE.

j^^^^&j
ALLEGRETTO MODERATO.

irt
feel,

zp
Or

\JZ
say

^=i
thee I'd
die,

j^zt
for

for

Or say

thee

I'd

die

find that

words
|

will

but con
m*ai-

a t-&

wi #i

\~ *m
i

r~<Pl
J

^
-

^r
D5I

5
ceal

-Vsigh.

"What

my

soul

would wish

to

Ah

well

day,

The

sweetest

35
4-j-

f
melo
-

^
thee,

H
ly
re -

dy

Could nev -

er,

never say

One

half

my

love for

Then

let

me

si

lent

7'

!~r

3
f
1

q==S=

lis:

IT
dE

T^
=#veal

r
y
d=E=E:

-^

-* -jv

What my

soul

would wish to sigh

Thou'st often called

my

voice a bird's,

Whose

music, like a spell,

to rapture e'en the

Could change

words

Of

our slow and sad farewell!

Ah, well a day, &c.

36

THE LAST ROSE OF SUMMER

r#gF

=g=
ANDANTINO.
i i

Tia

the

'-0

0\

3^3: IjSM
r
r

_j>Jj

Li

.!

i
JZZgZ

-# r

r^r

r
c^z
of

r
3E;

3=
izzjizs:
Left
last

rose

bloom

ing

lone

AH
MT-

mmmm
her lote
-

ty

r^

iri

^rl

--<i_jr<l

r-n

r<i
3^:

p-rl

^1
:

i?=E^

m-

3 f
g p*^m

W~J
1

m
^E
No

-OTjTJ-

-#

*=

1
>~4i
1

T
r~

her

pamons

rfi'r^i

^ ^ ^ ^0
fa

tied

and

gone

flower

of

kindred,

No

r-ri ^1*1

^n

^fi

f**n

i*n

ori"Trnic
j

r^

J
,1

f.

r?

i
bud
1
is

P=*
nigh,

5
back
her
-~i

To

re - fleet

blushes,

#=

Pir~T~*r3~ #

~l

st

r
aa*-#sigh.

ryirah

I"

S m^mm
37
Or
give
sigh
for

r r

3
I'll

'/

^^^^^^ft^^^^E^ r^f
2.
3.

not leave thee, thou lone one,

So soon may

follow,

To Go
Thus

pine on the stem,

When

friendships decay,

Since the lovely are sleeping,

sleep thou with them.

And from love's shining circle The gems drop away,;

kindly

scatter

When

true hearts

lie

withered,

Thy

leaves o'er thy bed,

Where thy mate*

of the garden

And fond ones are flown, O, who would inhabit

This bleak world alone

Lie scentless and dead.

38

THE MISTLETOE BOUGH.

5__g_g_pg g_g :g=gg_pg

g_ *
a: tle

lzz*zz=i^zrzzzr.zzs^F:
holly-branch shone on the
-g-

MODEKATO
ESPRESSIVO.

The

mistletoe

hung

in the cas

hall,

The

old

- - c U oak wall, And the

I

=6=
/>

j_g

g_g_g

&

&

"~a~~a

=g-g-- g=g.

a a~a

"Digzzg"1

'feCIKZKlp

S=^
were
blithe

gE^fe&SE
and gay, And keeping
their
.t_S!

I**

ifcrp-ar-9j
-

M
;

baron's

retainers

Christmas ho

ly

day

The

baron

beheld

with a

; si

aziet~iBIIM_ ^__ -H-g g -g

g-

S_

S 3 g g--g
3

zz:g=D=nzig_z=l.

XZZE
-ei

TT~~1

r-

T P~i

T"-.i. i

^~1 u

| =3= j>
1

s::
father's*

n^

child,

:g=*
pride,

-3-

I
Lov
-

His

beau

- ti - fill

young

el's

bride;

While

she,

with her

bright

eyes,

39

z
bough
O,
the
mistle
-

Xf
toe

I
JSs_L

bough

m=k.

Zg

i
9

r& pa
j

J3UH =m

PV

gg
rr

r
2.

/p

" I am weary oi dancing now," she cried, " Here tarry a moment; I'll hide, I'll hide! And, Lovel, be sure thou'rt the first to trace

They sought her And they sought

that night, and they sought her next day,

The

clue to

my
;

secret lurking place."

Away

and her friends began Each tower to search, and each nook to scan And young Lovel cried, " O, where dost thou hide I'm lonesome without thee, my own dear bride " O the mistletoe bough
she ran
;

her in vain, when a week passed away, In the highest, the lowest, the loneliest spot, Young Lovel sought wildly, but found her not And years flew by and their grief at last Was told as a sorrowful tale long past And when Lovel appeared, the children cried,
!

"See, the old man weeps for O, the mistletoe bough

his fairy

oride

40

SHE WORE A WREATH OF ROSES.

u
-

She wore a wreath of

ro

ses

r-n
M:
9 m

Her

The

night that

first

we met

3
Her
love - Iy

face

S
was

i!-

9
i' -

i
*\

w^V

i i

-*

-medE
3~C

-#-

in
9*
siriil

^ri ^
curls

9*

u
had

g
the

rg

ing

Beneath her

of

jet;

footstep

m
-#
tone,

3i

^J
^
i^s
:

lightness,

WW'
Her

5
voice

the joyous

-a=Fs

mM

The

tokens

EE5

s
of

3
youthful heart,

33*
Where sorrow
is

unknown

saw her but

i J^ii

3E5

i
"3"

41

Tr$
on
her
)

-?
snowy

^
-4

-1
1
1

-F
'W
1

=F

&
brow.

it J.

pr
~W
-

^p

a
-:

i
2.

j #

&

n
-H

ri
9

i i i
i

i:
ST
-&-&1

J #

^ H ^
,

3
3.

bf
i
I
I

tr

wreath of orange blossoms, When next we met, she wore, Th'expression of her features
thoughtful than before standing by her side was one Who strove, and not in vain, To soothe her, leaving that dear home

And once

again

see that

brow

Was more

wreath is there The widow's sombre cap conceals Her once luxuriant hair
bridal

No

And

She weeps

in
is

silent solitude,

And

there

no one near
his

She ne'er might view again. 1 saw her but a moment, Yet methinks I see her now With the wreath of orange blossoms Upon her snowy brow.

To press her hand within And wipe away a tear.

I

own,

see her broken-hearted Yet methinks I see her

now

In the pride of youth and beauty, With a garland on her brow.

42

OFT

IN

THE STILLY NIGHT.

:
:

--

V-

AFFETTUOSO

round

me

The

smiles, the tears,

Of

**=*=

=fe=
The words
of
love then

f
spo
-

childhood's years,

ken

The

^g

^*~

it*
53

=1-

eyes that shone,

Now

dimm'd and gone, The

r^S-

43

#-*-

g~ ?
bound

:^=qSad

3=5^
other

5
a
-

me,

memory

brings

the

light

Of

days

round

2.

When
The

remember

all

friends so linked together,

I've seen

Like leaves
I

around me fall, wintry weather, feel like one

in

Who

treads alone

Some banquet hall deserted, Whose lights are fled, Whose garland's dead, And all but he departed Thus in the stilly night, &c

44

THE DREAM

IS

PAST.

ANDANTE CON
ESPRESSIONE.

3
fled

i
my
passion
fed
;

The dream

is

past,

and

with

it

3i

^
A

The hopes

that once

And

,w

darkly

die,

'mid grief and pain,

The

joys which gone

come not a

gain.

My

soul

in

si -

lence,

5
and
in tears,

:
~g:
Has
cherished now,
for

many

years,

love

for

one

who

does not

know

The

45

:f=

:#s

f
glow.
"

thoughts that in

my bosom
!

cease,

my

heart

thy throbbing hide

An - oth - er

soon

will

ztzft-i-9 T~

pm -9

~rj

T
k
j "
then
for -

rr

-ft*\&)

fa*-d
be

P
,>
\
1

ki
-

P
1*

Jm
;

W~T

f
but

j-9 > ^

=
'

h P
1

U*

J #

'

J *

fr P9~\ 1" u K # U
1

=llf
II
1

his bride

And
1

hope's last faint,

1

jfc-

H*

1 J i" H-*d# W 9
1

[ MM
(#

cheering ray,
1

Will
1

ev

- er

pass

way.

S_! 8j

'9

2.

J *
e
- I

J 9
d

<

J *
1

1 -Si
i

^
They cannot

d -V# -nT-rf e>

]

5fc*

see the silent tear

That falls unchecked when none are near; Nor do they mark the smothered sigh That heaves my breast when they are by.
I

know my cheek is paler now, And smiles no longer deck my brow

,

'Tis youth's decay;

'twill

soon begin

To

tell

And

the thoughts that dwell within. let me rouse my sleeping pride, from his gaze my feelings hide
for

He

shall not smile to

With love

think that I, him, could pine and die

46

THE ANGEL'S WHISPER

c
ANDANTE.

moth

er

was weep

ing,

For her

hus
~m

band was

far

on

the

wild

raging

sea

#
I

^^
rm
I

rg

hi

v-5And
the
tern - pest

:^
the

E iES
fish - er -

dwelling,

was swelling Round

man's

And

she

cried,

" Dermot,

3:

5:

^m n

3r

she numbered, slumbered, And smiled in her face as she bended her knee: " O blest be that warning, My child, thy sleep adorning, For I know that the angels are whispering to thee.

Her beads while

still

The baby
!

3.

while they are keeping Bright watch o'er thy sleeping, pray to them softly, my baby, with me And say thou would'st rather They'd watch o'er thy father; For I know that the angels are whispering with thee."
!

"

And

The dawn

Saw Dermot
And
the wife

of the morning returning

father to see,

wept with joy her babe's

child with a blessing,

And, closely caressing

Her
Said, "
I

knew

that the angels

were whispering with thee n

48
I

HAVE COME FROM A HAPPY LAND.

hs--:

1
JOYOUSLY.'

i=
1

=3=^=j
from

have

come

^r=P^
-

zazzpaizz:

r
=j=t=

*v

E a-#

3
happy
land,

3
unknown
;

:?z=:
I

^
a

5=

St
thee mine

Where

care

is

have part

ed

merry band,

To make

fc* Hf"
-3

-a^ZrFE
<

:?-

Thine
its

r#z*

t
=:
a'

a
r

Haste

haste
I
i

fly

with me,

~g

W
I

Where

love's

banquet waits

for thee

Zp=E

49

2.

4.

The summer has its heavy cloud, The rose leaf will fall;
But
in our

But

the touch of a gentle hand

Trouble can remove

home joy wears no

shroud,

And

pain will cease

when

lightly
!

fanned

Never does it pall Each new morning ray Leaves no sigh for yesterday

By

the breath of love

And, when fond hearts beat

Together, sorrow must retreat,

No

sigh passed

away

Would we

recall.

Touched by music meet For realms above.

Is trouble

on thy youthful brow?

Then hence

to the

Sorrow on thy soul? O, heed them not who for thee now Wreath the midnight bowl

Where
And,
first
I'll

care

in

happy land unknown, a merry band,

is

make
!

thee
!

my own
with me,
for

There you'll seek in vain For a balm to banish pain Nought your lip can drain
Will grief control

Haste

haste

fly

For

love's
its

banquet waits

theei

Thine

sweets shall be.

And

thine alone

50

HOME, SWEET HOME.

5
'Mid
pleas

BE
-

?=S=z:
ures

^
though

9r
we may
roam,
i I

^
ble,

and

pal

ces

Be

it

3=3=

=3^
so

?
hum
-

5
place like

&g=
A
charm
from
the

there's

no

home

'=3:

3
^=R #
fi-ja r^
:#jj

3=S=F

:=:

CI
world,

H!
is

Which,

seek

through the

ne'er

51
PITT L.E3ITO.

2.

An

exile from

home, splendor dazzles in vain

lowly thatched cottage again
that

give

me my

The

birds, singing gayly,

came

at

my

call
all

Give me them, with the peace of mind, dearer than

Home

sweet home

there's

no place Uk

home

52

THE
2.

PIRA

ifi'S

SERENADE.
customed
to

Forgive

r*t*r :rfc6r=zzz
-fr
CON SPIR1TO.
1
.

3-

*^3~?
my

rough moo

unac

sue,

woo

not,

perhaps,

as

your

-E
-U

the bay,

My

boat's

by the tower,

my

barque's in

And

both must be gone ere

the

land

lov

ers

woo,

My

t#7*^
:#=*:

r*-r

*- r:nzz:_=5: *
in

voice has

been tuned

to the notes

of

the
ft

-p r
&
a

p
I i

gun,

That

startle

the deep

^ ppp&
6

when

the

fE^E^&E:
-

dawning of day

The moon's

her shroud but to guide thee

far

On

the deck of the dar

ing's a

%
-a -9

9
er

^cj

Y1-

r;
combat's
-S;

begun,
,

And

heavy

and

hard

is

._

&

the grasp of that hand,

|^_

Whose

glove has been

ev

the

fc,

love-lighted star;

Then wake,

la- dy, wake,

lam

waiting

for thee,

And

this night, or

nev

er,

my

53
guard
of

our band.

Then wake, &c.

~-r

->

&=!=:

SSS^^
3: 3 3
:

S=fe
waiting

3~fZ"
I

bride thou shalt be.

Then wake,

la - dy,

wake,

am

for thee,

9 And

this night, or

nev

- er,

my

4.

islands there are on the face of the deep,

O, haste,

lady, haste

for the fair breezes blow,

Where the leaves never change, and the skies never weep, And there, if thou wilt, our love bower shall be, When we leave for the green wood our home on the sea, And there thou shalt sing of the deeds that were done,

And my ocean

bird poises her pinions of

snow;

Now

fast to the lattice

these silken cords twine,

feet
!

They are meet for such The signal, my mates

and such

fingers as thine.

ho

hurrah for the sea

bride thou shalt be.

When we

loos'd the last blast,

Then wake,

lady,

and the wake, &.c.

last

battle

won.

This night, and forever,

my

The

signal,

my

mates, &c.

54

RORY O'MOORE.

ALLEGRETTO CON
SPIRITO.

Young Ro
"

ry

O'Moore courted
says

jewel,"

Ro - ry,

Kathaleen Bawn, " that same is the way

He was

bold

as

You've thrated

my

a hawk, and she heart for this

01

^=J

in
his
I

^q_=L.

5=3:

to

^==i=
soft

as
-

the

dawn
day,

He
And

wished

heart

pret

ty

Kathleen
not,
to

please,

And
For

he
'tis

ma

ny

'tis

plazed that

am,

and

why

be

sure

thought
all

the
for

best

way

to

do

that

was
-

to

tease.

"

Now,

Ro

ry,

be

ai - sy,'

sweet

good

luck," says bold

Ro

ry

O'Moore.

tfi-

=a==f

55

tricks

don't

know

^-

3=
.

-jS
.

0.

a
till

in troth

what I'm

about, Faith you've teased

I've

put

on

my

cloak in
-

H
side

out."

3=S
~$
2.
3.

M
me enough;

" Indeed, then," says Kathleen, " don't think of the like, For I half gave a promise to soothering Mike ; The ground that I walk on he loves, I'll be bound." " Faith," says Rory, " I'd rather love you than the ground. "Now, Rory, I'll cry if you don't let me go; Sure I dream every night that I'm hating you so." " says Rory, " that same I'm delighted to hear, For dhrames always go by conthraries, my dear; O, jewel, keep dreaming that same till you die, And bright morning will give dirty night the black lie And 'tis pleased that 1 am, and why not, to be sure, Since 'tis all for good luck," says bold Rory O'Moore.

"Arrah, Kathleen,

my

darlint, you've teased

And And
So
I

I've thrashed for

your sake Dinny Grimes and Jim Duff, I've made myself drinking your health quite a baste,
think, after" that,

Then Rory,
So

O"

I may talk to the priest." the rogue, stole his arm round her neck, soft and so white, without freckle or speck;

And he And he

" Now That's eight times to-day that you've kissed me before." " Then here goes another," says he, " to make sure, For there's luck in odd numbers," says Rory O'Moore.

looked in her eyes that were beaming with light, kissed her sweet lips don't you think he was right ? Rory, leave off, sir ; you'll hug me no more

INDEX OF THE RULES.

Character and Value of Notes,
explained, Example of the various kinds of Rests, Dictionary of Musical Terms, Position of the Spanish Guitar,

Time

.....
.

Method of Tuning the

Guitar,

.10
11

View

of the Finger Board of the Guitar, Position of the Hands, Of Sharps, Flats, and Naturals, .

Of

the Legato

and Staccato,

Natural Gamut or Scale, . . . . . Exercises in the 1st Position, . . . Exercises on Arpeggio passages, . . . Scales of the different Keys, . . . Of the Slur, Appoggiatura, and Trill, . . Gamut and Exercises in the 1st and 4th Positions, Gamut in the 5th, 7th, and 9th Positions, . . Ferdinand Carulis' celebrated Exercises, .
.

.12
.13

.14
15 16 17

.18

INDEX OF THE MUSIC.

wet sheet and a flowing sea, Angel's Whisper, Baden Polka, . . Carlotta Grisi's Polka,
Cotillon,

French Air, Gayly the Troubadour, Home, sweet Home, I have come from a happy land
.
.

Cachuca, Last Rose of Summer, Misdetoe Bough,

Mozart's Favorite Waltz, My Heart and Lute,

La

28 46 22 23 24 25 32 50 48 26 36 38 20 30

<

Oft in the

stilly

Night,

I
I

Pirate's Serenade,

< <
<

Rory O'Moore, Sweet Home, She wore a wreath of

Swiss Air, Syrian Waltz,

roses,

< \ j < \ <

<

'Twere vain

to tell thee,

The Alpine March, The last Rose of Summer, The Mistletoe Bough, The Dream is past, The Angel's Whisper, The Pirate's Serenade,
. .

42 52 54 50 40 25 20 34 24 36 38 44 46 52

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